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Coulter Fussell’s early developed artsview perceives craft and other arts as indistinguishable from one another. Painting, sculpture, and textile work are one solitary entity in her mind. From youth, the combination developed into an unintentional mash-up, resulting in quilts and textile works that defy expectations of the medium. Fussell hand-pieces, stitches, paints, and repurposes found textiles to create quilts that both honor and defy the quilting tradition. She relies on the no-holds-barred nature of contemporary painting rules to free her compositions from the constraints of pattern. In turn, she simultaneously relies on the strict discipline of traditional craftwork to act as a self-editing tool. Fussell’s work blurs the lines between art and craft, positing that both practices have an element of functionality and non-functionality. For her exhibition at the Halsey Institute, Fussell will be creating all-new work.
As a multi-faceted self-taught artist, Butch Anthony creates works that investigate and appropriate images from the American vernacular. Though Anthony’s work emanates from the folk art idiom, his works are unmistakably original in concept and execution. The term “folk art” is generally applied to traditional media such as wood carving, quilt-making, functional pottery, weaving–items that are passed down from generation to generation. Anthony’s work often has a charming immediacy because of the familiarity of the selected materials, yet this surface appeal is often undermined by the conceptual premise. Some images evince a biting sarcasm or ironic wit, while others poke fun at our consumerist society.
Coulter Fussell: The Raw Materials of Escape and Butch Anthony: Inside/Out are on view at the Halsey Institute of Contemporary Art (161 Calhoun Street, Charleston, South Carolina) from January 17 to February 29, 2020.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.